5 comments about The Puccini Album: Arias for Piano.

1. John Bayless' incomparable renditions of the master's music will please you, I promise. "Un bel di" from Madama Butterfly and "In questa Reggia" from Turandot are done with stunning technical flare and dramatic interpretation. He runs with the ball a bit and expands upon "Non piangere Liu" from Turandot. This piqued my curiosity and sent me back to the opera for a closer look, and I found his transcription, though more elaborate, to be surprisingly faithful to the original. I also found this aria to be a better one than I had thought. His ardent rendition of "O soave fanciulla" transfers from La Boheme with all its intensity intact. And if you want your hairs to stand on end, listen for the chilling rumble in the lower end of the keyboard at the close of "Tu, tu piccolo Iddio" from Madama Butterfly. If you think Bayless' florid style is overdone, consider how well he uses it to plumb Puccini's emotional depths. I have listened to this CD a hundred times. To be honest, Bayless' prelude and postlude that act as bookends for the album do not grab me. In place of them I would slobber over a version of the "Invocation of the Moon" from Turandot, or some selections from Manon Lescaut. But if you like piano transcriptions from opera, and you love Puccini, you can't beat this gem.



2. This is a wonderful CD that is filled with beautiful Puccini arias played by a great pianist. I love to listen to it over and over since the music inspires me with thoughts of relaxation, exhilaration and peacefulness all wrapped into one. John Bayless truly captures the emotion of Puccini with his wonderful arrangements and musical skills. I recommend this CD for those who enjoy not only beautiful music but also love the piano.



3. This is a superb collection of Puccini's melodies arranged and improvised for solo piano, and brilliantly played by John Bayless; it wrings every bit of emotion from these resplendent arias, some so tender and expressive, like the exquisite "Son Andati ?" from La Boheme.
   Puccini once told a soprano to "walk in clouds of melody", and on this disc we have a celestial feast, making one realize how starved we are in today's world of great melodies, with so much of popular music very uninspired in this area, and classical music ignoring it.
   Perhaps my favorite track is the gentle and passionate interpretation of one of opera's best loved arias, "E Lucevan le Stelle" from Tosca.

   The way Bayless has transcribed this music and improvised on it is a stroke of genius, and very clever marketing as well, giving us a new, unique take on "opera lite", and one of the most enjoyable I've heard; his virtuoso technique is up to the task, and he manages to get a myriad of sounds and colorations out of the instrument.
   This enthralling presentation of operatic themes is lighthearted and would make great background music, but is also much more; it's inventive and beautifully performed, is true to the emotional content of the original, and oh ! those glorious melodies.
   The sound is crisp and clear, and total playing time 78'28.




4. If you enjoyed the flourishing style of Liberace, you'll love this wonderful schmaltzy tribute to Puccini. All the favorites are here from Un Bel Di to Nessun Dorma, played with extravagant passion by John Bayless. I like to play this CD on a rainy day with a cup of hot cocoa, close my eyes and just disappear into the sensuality of the music



5. I have owned this CD for seven years and I am always delighted to discover it again. For those who love the original voice arias and love the piano -- you will not be disappointed.

5 comments about Brainwave Symphony.

1. I really like the classical music on all but the delta cd. This one is supposed to be for sleep but I find it sinister and annoying, but the rest of the cds are good.



2. While the classical music was nice, I didn't notice any effects that helped me sleep, relax, or energize.



3. Dr. Jeffrey Thompson's brainwave entrainment music is by far the most effective. This CD set is excellent. Whether you are a classical music fan or not, listening to this CD will produce results. I was concerned when I bought the CD that I would be getting second rate classical music or possibly that it would be warped by the "brainwaves." Not so. These are beautiful, timeless recordings of some of the greatest classical masters. And, the brainwaves cannot even be heard in the music (at least I can't hear it!)
   
   This CD set is also useful because it can be listened to and experienced without headphones. It's nice to have the choice of different brainwaves, and the ability to let it play in the background while I go about other things. (Others of his CDs require headphones, lying down, etc.)
   
   Highly recommended.



4. I used the first CD in this collection (Alpha) to assist me during the labor and delivery of our daughter. I put it on our ipod and listened to it over and over during the labor process. I actually managed a light nap during active labor and had very little pain throughout the process. It that doesn't tell you that it keeps you relaxed and able to meditate, I don't know whatelse might convince you. The recording is great, the music lovely, and it does what it claims to do. I highly recommend it!



5. These really work! Ever wonder why listening to classical music may make you more up-tight than relaxing you? Here's the reason...

4 comments about Alfred Brendel Plays Beethoven Piano Sonatas, Vol. 4.

1. Many consider Alfred Brendel to be one of the greatest interpreters of Beethoven's piano music. His level of accomplishment is truly amazing when you consider that he has had very little formal education and is primarily self-taught.
   
   Only the last 3 volumes of this 4 volume set address this very nice collection of the entire piano sonatas by Beethoven, played by Brendel, and well worth owning. My reasoning for only giving 4 stars is that, although I greatly enjoy and appreciate his playing, I have personal favorites of these played by others which are more endearing to my personal taste. But overall, these pieces are beautifully performed. He is consistently good and as a complete set, I would give them a 5 star. I think you would be hard pressed to find any better.



2. Brendel and Beethoven, somehow the names just fit together. This cd on Vox, was originally part of the famed Vox Box series and in this case the Vox Box contained the complete Beethoven Sonatas. It won a Grand Prix de Disc when it was first released. It was a worthy recipient. Although Brendel has re-recorded the sonatas for the Philips label, this set has a freshness and vitality about it, an excitement of discovery, something missing from the Philips set. Highly recommended



3. One man's viewpoint: I always love Brendel's light, agile touch. Yet there's a passion here that's hard to describe. Kind of sneaks up on you. He articulates every note cleanly in these pieces too. Amazing. And ALL the LVB sonatas have something wonderful to offer. Suggest you buy all four of AB's VOX renderings. And his Diabelli's. Then I'd suggest Arrau and O'Conor. All rewarding!



4. A resaonably good introduction to what Beethoven's piano sonatas are all about; but keep in mind that there are better pieces. As far as music goes, it is undoubtably enjoyable.

3 comments about Die Dreigroschenoper: Berlin 1930.

1. You can buy lots of different versions, old and new, German and English, of The Three Penny Opera. This is the original "Dreigroschenoper," done with the cast and orchestra of Brecht and Weill. Be ready for culture shock, but--isn't that what you're looking for?



2. In quick summary:
   - If you're at all familiar with the Dreigroschenoper and all its incarnations, be sure to buy this album. It's the closest you could get to an 'original'.
   - If you're completely new to the Threepenny story, I would recommend starting with the 1999 Nina Hagen concert version instead. It's got all the songs left out here, better recording quality, and a more modern approach to the music.
   
   This is not a complete collection of original cast Dreigroschen songs. Rather, it's a selection of the best tracks from the play, often censored and cut short (in all the usual ways), and filled up with seemingly random extras in the genre.
   
   The performers are all quite brilliant, and it's refreshing to hear a 3P without all the screaming and biting from recent versions. Though the songs are by no means slow, they're much more relaxed, more saccharine I would say, than what they've later evolved into. I love both type interpretations, but I often prefer this one.
   
   One very nice bonus is the inclusion of a handful Threepenny songs in French. Otherwise pretty hard to come by. Also, the famous final lines of the movie version (Moritat reprise) are present, which I've only seen in one other recording (the 1981, also led by Miss Lotte Lenya). All in all, an essential CD for Brecht/Weill fans.



3. I've been a three-penny freak ever since I was a hanger-on at a Stanford production 40 years ago directed by a Brecht associate from Berlin. It's wonderful to get the authentic original cast records. I really like the added Berlin Chansons, too. "Don't Goggle at that Tango Dancer, Keep Your Eyes on the Guy You Came with!" Or Marlene Dietrich, with "Jonny, When it's Your Birthday, I'll Be Your Guest for a Night."

5 comments about Together for the Children of Bosnia.

1. I finally got the Cd after wearing out two tapes. There are so many different artist on this, it's amazing. It is almost worth it just to hear Michael Bolton do opera! I don't like the man but he was good. Get this, it is worth a listen.



2. I finally got the Cd after wearing out two tapes. There are so many different artist on this, it's amazing. It is almost worth it just to hear Michael Bolton do opera! I don't like the man but he was good. Get this, it is worth a listen.



3. Live from the Parco Novi Sad, Modena, on 12 September 1995, in the presence of Diana, Princess of Wales, Pavarotti brings us his fourth spectacular charity concert, this time in aid of a music therapy centre being built in Mostar by War Child. As is usual with these concerts, Pavarotti brings together artists from all musical genres, and even does duets with some of them including Meat Loaf, Michael Bolton and Dolores O'Riordan. Track #2 is an astonishing blend of opera and rap...who woulda thunk it! The finale is Pavarotti's calling-card "Nessun Dorma" in which he is joined by the many other guests. Rap, folk, rock, opera, gospel and sacred music build a musical bridge in aid of a worthy cause.



4. A wonderful concert for a wonderful cause. The previous reviewer only gave it 4 stars because he said there were too many different styles of music. Well, that's the whole point. It is the music community, regardless of genre, getting together to raise funds to build a Music Centre in Bosnia-Hercegovina, which will provide music therapy, tuition and a space where music will be used to enable young people to learn, to grow and to be healed. Music is for everyone, and all these different artists getting together for the common good, regardless of genre, is wonderful. And on this album are a number of suprises. Dolores O'Riordan of The Cranberries singing with Pavorotti on "Ave Maria", Meat Loaf and Pavarotti duetting on "Come back to Sorrento", to name just two. A must have for music fans in general.



5. A brilliant idea of Maestro Pavarotti, these concerts, and especially this one. I enjoyed the Ave Maria, where Dolores (one of my favourite pop-stars) clearly shows that she had some profit from canto classes she took in youth. But the "Linger" version was not alike, listening more to Simon Le Bon than the original voice...

   Strange, but interesting and cool combination between rap and opera ("Serenata Rap/Mattinata"). Well, such things could never be seen before, eh?

   A good bunch of masters packed in to make a great record for a good deal. But.. aren't there too many styles? Yhat's the missing star...

5 comments about Vladimir Godar: Mater.

1. It's refreshing to see contemporary composers return to writing music with themes and making a conscious effort to search for beauty. If 20th century-music reflected the political and cultural disintegration of European society and its surrender to nihilistic forces of fascism, Nazism and communism, then one can read this composition by a Slovakian composer as a return to serenity and cultural well-being, a positive development.
   The composer speaks in the liner notes of performing musical archaeology, delving into the past to come up with new insights. For much of this CD, he succeeds. There are moments of great beauty. The first song in Yiddish I found particularly striking. Soprano Iva Bittova has a voice of rare purity.
   Where I feel it still falls a little short is in a certain blandness -- a lack of bite. The Hallelujahs all sound a touch formulaic after a while, not inhabited by the same fervor and religious desperation that inspired the Baroque musicians whose work is being imitated. It's a little too sweet and occasionally borders on the edge of cute. We are tourists with Godar as our guide, visiting an ancient cathedral. He points out the various features and we wonder what it might have been like to worship there.
   Still, this is very much worth listening to and I did enjoy it.



2. If you were brought up Catholic, and you like music a little off the beaten path like Gregorian chant, you'll enjoy this album. Probably the best piece is Regina Coeli, powerfully sung by Iva Bittova in Latin. A simple melody, it repeats, yet changes it's harmony, with variations on it's musical theme. Towards the end, Iva's voice explodes in an Alleluia that will take your breath away.
   
   Several of the other songs are in Slovak; and are more moody and sonorous. The composer, Vladimir Godar, explains his music on the CD as the "protagonist who is a Woman-Mother (the Blessed Virgin) who gives Life (Magnificat), shapes (Lullabies), buries and mourns (Stabat Mater) and praises (Regina Coeli). A good summary, I thought.



3. Beautiful. Contemplative, lovely music. Aside from the staccato violins on track 2 (Magnificat), this is a sublime, ethereal listen.



4. This album is so beautiful & relaxing. Anyone who can appreciate fine music, will surely appreciate the sometimes haunting but always beautiful melodies in this album.
   
   I heard this on my local NPR affiliate & had to buy it.
   
   ROCK ON!!



5. If you enjoy the works of Arvo Part, Gorecki or John Tavener, then read no further and simply add this amazing album to your cart. I heard it on the radio and the announcer seemed to know that many people would be calling in for details of this album so he gave all the information needed to purchase it. I ordered my copy immediately. The singer may not have the most gorgeous voice; hers is more suited for pop music or singing folk songs, but the passion in her voice will astonish you. Every track of this album has a meditative, mesmerizing quality, reminiscent of Gorecki's 3rd. However, it is not as minimalist. One track brings to mind Baroque music. Having little knowledge of Godar's work, I was pleasantly surprised by the striking lyricism of his music. If you are searching for modern music with atonal dissonance, then this is probably not something you'd probably enjoy. It's not actually a crossover album either. I would simply place this album in a category all by itself. I don't think there is anything like it out there. The first aspect that will strike you is the simplicity of Bittova's voice. She has an unusual child-like timbre, somewhat smoky. Every track features her singing the compositions with the utmost commitment. The composer/singer collaboration is very evident. This is one of those albums that is immediately accessible and you will listen to it many times. The cover of the CD contains a quote from Rob Cowan, BBC Radio 3, "It's as if Janacek, Gorecki and Monteverdi have settled on a universal language. A wonderful listen." WONDERFUL indeed and quite sublime...

5 comments about No Tenors Allowed: Famous Duets for Baritone and Bass.

1. I absolutely LOVE This CD. FOr all its faults, I LOVE this CD.
   
   I saw "I Puritani" 2x in 2006 and fell in love with the bass-baritone duet. I bought the CD because I wanted to hear it again. That the bass-baritone duet from Don Pasquale was on it was a plus. I'm thrilled with most of the selections, my only complaint is there is too much of the patter-stuff. (Didn't Puccini write a duet for bass-baritone in Tosca? And what about the bass-baritone duet in Rigoletto?)
   
   The duets from Puritani and Don Pasquale and Secret Marriage are marvelous and I thought the singers were at their best in those roles.
   
   I'm not a huge fan of either singer. Hampson sometimes bellows and sometimes creates a really, really ugly sound. Ramey is not always as smooth or as rich as I like a bass to be. He strains a bit in the Boccanegra piece. I think Ramey does marvelously on most of the other arias, though.
   
   Having said all that, I play this CD over and over again. I wish I could find more of these duets for low voices. (Duets for contraltos and basses, anyone?)



2. I had recently heard Hampson at a symphony; his voice and stage presence are magnetic. I have always admired Ramey's performances. This disc for the two of them is equally as impressive. It is a superb recording.



3. Older gal here. With all the young singers and popera stars around I missed
   the sound of a "mans" voice.
   The men in my family happen to inherit the deep chest vibrating male vocal
   cords. So I am partial to real "manly mens voices".
   So wonderful to hear these "men" sing with emotion and such passion - lets
   face it ladies - the only place you are gonna here that!
   So grab a glass of wine, a good magazine turn on the cd and enjoy bass / baritone with feelings.
   P.S. I put this on before a date - to get into the mood.



4. This could have been a fantastic album, but ends up falling well short of that owing to Thomas Hampson. I have never understood the fawning praise Mr. Hampson receives. His voice is unpleasant, his musical interpretations are well-below average, and his coloratura is completely non-existant -- for an excellent example of this, compare, in the Pasquale duet, Ramey's exquisite descending scales in the "aspetta, aspetta, cara sposina" phrase with Hampson's sloppy counterpart, "il poverino, sogna vendetta". The "i" in "poverino" is supposed to carry over four separate notes, and not one note, a whooping cough, and a closing note! Judging by some interviews I've read and/or seen, Mr. Hampson appears to be a decent, down-to-earth gentleman. As an opera singer, however, he's mediocre at best. This recording is worth owning thanks to Ramey, who is absolutely top-notch.



5. One to keep, one to give away. You'll wind up burning one for the car and one for the office regardless. A friend lent me this CD and I've bought 4 so far. One of the best! I can't recommend it enough.

3 comments about Nathan Milstein - In Portrait.

1. Fantastic! Five stars aren't enough. Candid interviews reveal Mr. Milstein's humbleness and an insight to his great talent. The sound quality and camera angles are very good. Close-ups of Mr. Milstein's playing are educational for all skill levels.



2. Thanks to good genes and formidable physical and mental strength, Nathan Milstein was still sounding fantastic into his eighties. All I can say is Thank the gods for Christopher Nupen. Milstein objected to doing the film for many years and finally, and literally JUST in the nick of time, it was done. This 2-DVD set is tremendous. For years, it was only available on a single videotape - and I don't think all of the footage was included. Personally, I am not real big on Nupen's intros to each part. He's made a number of great films, but he just seems like an old windbag. Nearly everything he says in his intros is covered in the program notes AND in the film itself! If there is any real fault to the discs, it would have to be in the menu format. You can't use the 'Play All' feature unless you're willing to fast-forward or sit through 10 minutes of clips from other Nupen films, good though they may be.
   
   The two-part program on the first DVD is fine. Although Milstein is in my top five favorite violinists, I never have read the book he wrote, so I learned tons about him. His accent is thick but understandable if you're a violinist and already familiar with the man and his art. I would've liked to see a bit more about Milstein's development as an artist - and hear him talk a bit more about the non-violinistic things he did to become such a cultured, educated person in addition to being one of the greatest fiddlers. The portions with Pinchas Zukerman are nice. The portions with Nupen asking questions are a little drab...I wish Zukerman had asked all the questions since Nupen is obviously not well-schooled in the violin. The Kennedy Center Honors clip was a nice inclusion - I'm glad they gave one to Milstein. No one deserved it more. Also included are commentary by the lovely Terese Milstein (who, like her husband, was ageless...but I wish she'd said even more), and violinist Yuri Nagai (a student of Milstein's...check out her flying hair as she plays the Paganini Caprice #13 for him...and check out how strict a teacher he was!!)
   
   I wish the second DVD had footage of the entire recital. Instead, only the Bach Chaconne and Kreutzer Sonata are included...again with Nupen's fatherly wisdom at the beginning. It woulda been better if they'd shown the entire recital - jeez, I can only begin to imagine the thrill I would have gotten if I'd been able to see the whole thing including the standing ovation at the end. Instead, the other pieces played were incorporated into the documentary. Okay, fine, but at least give us the full recital as an option too.
   
   The pieces include Moussorgsky's "Hopak", Sarasate "Intro and Tarantella", Paganini Caprices #5 and 13, Handel Sonata in A major, Bach Chaconne, Allegro Assai from Bach Sonata #3, Liszt-Milstein Consolation #1, Tchaikovsky-Milstein "Mazeppa" aria, Prokofiev-Milstein "Old Grandmother's Tales", Kreutzer Sonata. Georges Pludermacher is the competent piano partner; Pludermacher was already playing with the great old master when he was in his twenties. The fact that Milstein chose him is a testament to Pludermacher's virtuosity as well. Indeed, Milstein plays everything with the same panache and perfection that he did more than 70 years prior. There's no way that Paganini, if he'd lived into old age, would've been able to perform his own Caprices even half as well as Milstein did at age 82. You do not criticize Nathan Milstein's playing. You rejoice that it existed.
   
   Five stars for the music, but only 3 stars for the DVD set itself (which averages to 4 stars.)



3. Let me preface by saying that Nathan Milstein is one of my favorite violinists. I like his sound, like his interpretations, and love his technique. I may be biased in my views toward him, but I feel like this musical portrait is a worthy view for any classical music fan.
   
   The first disc contains some conversations and interviews that Christopher Nupen conducted with Milstein. There's really nothing provocative here. Milstein was widely known as a simple and humble artist, and he does nothing to refute that statement in the conversations. My only real complaint is that there are no English subtitles available; sometimes it is difficult to understand Milstein. Of course, there is also the surreal "chat" between Pinchas Zukerman and Milstein. Zukerman does his best Chris Farley impression, serving up softball questions to a Milstein that almost seems annoyed by the whole process. What little insight and/or anecdotes that is provided is basically rehashed from Milstein's memoirs "From Russia to the West" by Solomon Volkov. If you are a serious Milstein or Violin fan, try to find a copy of the book instead of watching this video.
   
   The second disc contains complete performances of Beethoven's Kreutzer Sonata and the Bach Chaconne from Milstein's last public recital. By that time, Milstein was in his 80's and almost undoubtedly the greatest octogenarian violinist virtuoso of all time :). Sadly, the other pieces he played in the recital, most notably the Sarasate Introduction and Tarantelle, are only shown in clips during disc 1. I was hoping this DVD would just show the film for the entire recital, but the Kreutzer and Chaconne are a good compromise. There is also a little section of the Milstein conversations where he opens up about the Chaconne. This truly does provide insight into the artist that perhaps played the Chaconne better than anyone ever has.
   
   In summary, get this DVD for the wonderful recital footage of the Kreutzer and the Chaconne. Watch the first disc for comic relief (why did Pinchas Zukerman feel the need to wear aviator sunglasses when he introduced Nathan Milstein at the Kennedy Center Honors Banquet?).

5 comments about Gregorian Christmas: Chants & Motets.

1. I've used this for years as part of my meditation regime and never realized that I've never done a review for it.
   
   When I listen to it just after my morning meditations, it always bring up solem divine feelings in me that bring some tears to my eyes.
   
   The people who perform this work really capture the divinity in it. I'm really not interested in who the creators or performers are. All I know is that what they did work for me.



2. The play list is correct, the one with the ability to listen to clips. This CD has 14 tracks, beginning with "Puer natus est nobis" (the Introit) and ending with "Magnificat anima mea Dominum." The list that says ON THIS CD is a totally different list of chants. I do not know what it is doing on this page.
   There is no Mozart. There are sparse credits in the liner notes. The recording appears to be of a group calling itself Capella Gregoriana, although nothing is said about them. Predominantly chant, there are times when the selections move to motets, the natural outgrowth of chant, being simutaneous independent plain songs as it were, combined to form a melodious and rhythmic whole much as partner songs do. Highly recommended, this is an excellent budget album. Just be sure that you understand that you are getting the 14 tracks that you can listen to, not the list that says other tracks are on the CD. As for the Christmas feel, it is certainly reverent and soothing. It is not festive. If you like chant, you will appreciate this album. I certainly do. If you are looking for festive type Christmas music, find another source.



3. Not technically Gregorian, because of some polyphony. But this is one of the best selections of this kind of music that I've heard. Compare to expensive monastery or convert CDs, and others, and this is one you put on the CD changer more than the rest. Found it in a bargain bin at Fry's. Amazing CD.



4. Beautiful musical rendition of Christmas music. Soothing and lilting, it'll help you get centered or reconnected or whatever it is you need for stress relief. A fantastic CD at a great price!



5. This is a beautiful collection of soothing Christmas chants and motets...Put this in your CD player and you'll have trouble getting upset about the person who just cut you off for the last parking space at the mall! An excellent-quality recording for an amazing price...

5 comments about The Original Four Seasons And The Devil's Trill Sonata / Vanessa-Mae.

1. Why this young lady isn't mentioned in the same sentence with Midori or others of that ilk I don't know. Could be her penchant for the unusal (think electric violin, jazzed-up classics, etc.)? Probably. But on this CD she plays it straight; close your eyes and think of Isaac Stern only much better looking. I think she's great, and this CD reinforces my opinion.



2. It's interesting what other reviewers have to say about Vanessa Mae's Four Seasons album (EMI 1998). While the album averages a decent four stars rating, those who rate it badly are particularly virulent in their reviews: "Sloppy and vapid," "Barely deserves 1 star," "Childish, mischievous, ludicrous," "A chatty teenage girl's Vivaldi."
   
   I have to say I like it. I don't care much for Vanessa Mae's other works; She can take her bongo drums and electric violin to some Yanni concert, marry that pseudo-pianist Maksim and have cross-over-children for all I care. But Vivaldi's The Four Seasons is one of my all-time favorite works--I never fail to get high listening to it; it's always an intense listening experience for me. I would think that, given the mastery of the composition--Vivaldi's trademark joie de vivre, his soaring, intricate passages--one should leave well enough alone. But Mae's version of The Four Seasons lends a new perspective on the well-loved work. I can take her improvisations, even if she cheekily titles them the "Original" Four Seasons. I see no harm in rearranging a classic if only to disabuse the familiar.
   
   But I can understand the hate. I once lent the album to a friend who had majored in music in collection; she returned it in a huff. I don't like it, she said dismissively. Actually, very emphatically, I remember. I guess for some musicians, Mae's fiddling with the original score amounts to sacrilege, like adding make-up to the Mona Lisa.



3. In the interest of full disclosure, I'm not truly sure that there is such a thing these days as a good recording of the Four Seasons (Original or otherwise --- I'm not sure what "Original" is supposed to mean here). Of the many warhorses to be found in the repertoire, it is (for me at least) one of the more annoying & shallow. Nonetheless, the gazillions of violinists who have recorded it have, for the most part, turned in performances that at least have a reasonable amount of energy to them. Such is not the case here.
   
   All of the concerti have a homogenized quality to them and are oftentimes quite lethargic. I didn't think one could make these pieces more bland, but Vanessa-Mae has proved me wrong. Apparently the only time of year the Seasons are supposed to capture are the Dog Days of Summer...humid & stagnant.
   
   Going from bad to worse, Vanessa-Mae then tackles Tartini. Unlike Vivaldi, Tartini actually did write interesting music & revolutionized the use of double stops, among other things. Sadly, Vanessa-Mae has no earthly idea of what she is trying to say as she plays this, and once again, the music just slogs along with a stultifying sameness. The odd arrangement of the continuo parts hardly helps.
   
   She would be well-advised to stick to the pre-fab crossover confections in which she has specialized, because this album demonstrates that she really doesn't have the chops for the challenges of the classical genre, even with relative lightweights like Vivaldi. Thus far, her forays into the classical world have been uninspiring, at best. Continue to rely on that which has made you wealthy, dear child. Stop trying to earn our respect, because you'll never get it with pablum like this.



4. I think that this "interpertation" of Vivaldi's Four Seasons is a stupid experiment gone wrong. Her Inventions and "Improvisations" might be a nice idea, but to a real musician this recording is a mockery of good musicianship.



5. It sound like a 5year old mischievious girl fooling with violin for pure curiosity! it make no sense to serious classical music but probabily still sounds 3stars if you take it for a vivaldi-pop.